Fall/Winter 2006 Delaware ACDA Newsletter Volume 12 Number 1
What’s On The Menu? Martin Lassman President
ntering Braddock, so we can add you to the mail morning on November 4. E my sec ing list. ond (and last) Voices In Song Workshop & Choral year as Dela State Choir Festival Reading Session ware’s ACDA This is the only opportunity you and your Sponsored by The Musical Source, this President, I students will have to hear other choirs in workshop takes place in Washington, DC must say this is a lot of fun! I have a the state; to perform for excellent, uncom on October 14, 2006. The clinicians will Board of fantastic people with great ideas promising conductors; and to have a pri be Francisco Nuñez and Darren Dailey. and I am allowed to take credit for their vate workshop/clinic with one of the con For more information, please call The Mu hard work. Pretty sweet! So, what have ductors. If you have a desire for your mid sical Source at 1 800 2 SOURCE. they dreamed up for me this year? dle or high school choir to improve, you have no option but to attend this event! I know the other chairs are working on State Children’s Honors Choir projects as well. In the meantime, please If you teach 4 5 6 grade students and do Music in Worship Reading Workshop do use us as your best resource. We are not provide this opportunity to your best Organized by co chairs Betsy Kent and comprised of the best minds in the state on singers, you are doing them a disservice. Nicole Aldrich, the focus this year will be choral matters. We can handle any ques Singers get an intense 24 hours with a on younger choirs in worship. Please con tion and help with anything you need. Call great conductor and sing great music. Par tact Betsy or Nicole for more information. us! E mail us! We will be glad to help. ents love it, kids love it, and we directors love it! If you did not receive information Reading Sessions Email: [email protected] about it last year, make sure you contact We plan to offer music for Elementary, me or the Children’s Choirs R&S Co Middle School, High School, Mens, Chairs, Kara Newham and Jeanmarie Womens and Jazz Choirs on a Saturday
n a unique pairing of students and teachers, Linda Wardell will guide all through music activities and choral music for the beginning elementary I Song of the school chorus. Topics to be discussed and/or demonstrated with a children’s choir are Seasons: • choral warm ups A Choral Workshop for • pitch matching the Beginning Treble • teaching early part singing • achieving a uniform sound Student • breathing techniques Children and teachers will rehearse and perform a mini concert at the conclu November 4, 2006 sion of the workshop. Music selections will be applicable to a grade 4—5 9:00am – 12:00pm chorus. Music and materials will be supplied and taught to the teachers and University of Delaware students at the workshop. Amy E. duPont Music Building For more information, please contact Linda Wardell. Email: [email protected] Page 2
Delaware ACDA Officers and Repertoire & Standards Chairpersons
President Editor & Historian Community Choirs Musicals & Opera Liaison Martin Lassman Barbara Swartz Michael Larkin Marji Eldreth Cab Calloway School of the Arts 140 Brennan Drive Wilmington Music School Cab Calloway School of the Arts 100 North DuPont Road Newark, DE 19713 4101 Washington Street 100 North DuPont Road Wilmington, DE 19807 W: (302) 454 2164 ext. 1113 Wilmington, DE 19810 Wilmington, DE 19807 W: (302) 651 2700 x179 Email: [email protected] H: (302) 475 5658 W: (302) 651 2700 Cell: (302) 893 0168 W: (302) 762 1132 Email: Email: [email protected] OR Email: [email protected] [email protected] [email protected] Web Design Ryan Tibbetts 334 East Main Street, Apt. C 10 Jazz Choirs Private Schools Liaison Past President/ Newark, DE 19711 (see President) (see President Elect) Vice President Cell: (302) 354 2001 Nicole Aldrich Email: [email protected] St. Paul’s Lutheran Church Junior High & Senior High School Choirs 701 S. College Avenue Middle School Choirs Thomas Sabatino Newark, DE 19713 Children’s Choirs Gary Smith Concord High School H: (410) 392 6136 Jeanmarie Braddock & H. B. DuPont Middle School 2501 Ebright Road W: (302) 368 0064 Kara Newham 735 Meeting House Road Wilmington, DE 19810 Email: [email protected] Hockessin, DE 19707 H: (302) 368 2794 Jeanmarie Braddock W: (302) 475 7254 The Independence School W: (302) 239 3420 Email: [email protected] Fax: (302) 529 3094 1300 Paper Mill Rd. Email: [email protected] President Elect Newark, DE 19711 Margaret Anne Butterfield W: (302) 239 0330 Wilmington Friends School Email: jeanmarie.braddock Men’s Choirs 101 School Road @theindependenceschool.org Paul Gray Women’s Choirs Wilmington, DE 19803 Pencader Charter School (see Da Capo Editor) W: (302) 576 6764 Kara Newham 170 Lukens Blvd. Email: P.S. DuPont Elementary School New Castle, DE 19720 [email protected] 701 West 34th Street (302) 983 4012 University of Delaware Wilmington, DE 19802 H: (302) 731 9410 Student Chapter Liaison W: (302) 762 7146 Email: [email protected] Treasurer Email: [email protected] President (vacant) Caitlin Swords Music In Worship 2310 Northcliff Dr. College & Nicole Aldrich & Betsy Kent Jarrettsville, MD 21084 Da Capo Editor University Choirs Cell: (410) 937 5888 Marybeth Miller Paul Head Nicole Aldrich Email: [email protected] Wilmington Music School Director of Choral Studies (see Past President) 4101 Washington Street Department of Music Betsy Kent Advisor Wilmington, DE 19810 University of Delaware Director of Music Ministries Paul Head Cell: (302) 893 5687 Newark, DE 19716 Newark UMC (see College & University Choirs) Fax: (410) 658 9905 H: (610) 345 0323 69 East Main Street Email: [email protected] W: (302) 831 3397 Newark, DE 19711 Fax: (302) 831 3589 H: (302) 368 8364 Email: [email protected] W: (302) 368 8774 Fax: (302) 368 8705 Email: [email protected]
Da Capo is the official newsletter of the Delaware ACDA chapter. The purpose of our newsletter is to generate interest in ACDA and the choral art, inform members of upcoming member or ACDA sponsored events, offer support and en couragement to members, and provide helpful information and resources for members in all areas of choral activity. ♫ The Delaware ACDA Officers and Chairpersons welcome your comments, suggestions, and article contributions! Please email each chair for chair specific comments/concerns, or contact the Da Capo editor at [email protected] . ♫ The views, opinions, and conclusions or recommendations expressed in this newsletter are those of the author(s) and may or may not reflect the views of the editor or others affiliated with ACDA. Page 3
Repertoire to Start the Year (or for Any Time of Year) Gary Smith R & S Chair for Junior High/Middle School Choirs
hope the fore I present a piece to my choirs, I spend my students or me. This rondo features I start of hours becoming familiar with the vocal contrasting B, C, and D sections that can your school parts, the piano accompaniment, and the be performed as solos or in small groups. year has been text so that my presentation can be so The Hebrew language is easy for students very pleasant. strong that the students have no choice but to learn. Last year, be to love the music as much as I do. A com ing my first year in a new school, I was bination of the right piece and effective Great Gettin’ Up Morning – Arr. Roger nervous yet excited to meet my new stu initial presentation can really help make a Emerson (Hal Leonard) dents and begin this new experience. I was connection with the students early and set The driving accompaniment and simple facing a task many new middle school the tone for the remainder of the year. The harmony helps make it easy to teach and teachers face: recruiting students for your importance of this initial musical connec fun for the students. I have taught this program. Being new to the school, it was tion must not be underestimated. Once initially by rote, then added the music later not just the incoming sixth graders I had to you make this connection, students will on. Part one and the optional descant get a recruit, but the seventh and eighth graders look to you and trust you to help them little high towards the end of the piece(up as well. In late August of last year, my achieve it again. to f2), but the parts can be slightly rear class lists had a small smattering of names ranged to make it more comfortable for on them so I knew I had my work cut out The titles that follow are pieces that I feel students. This piece is available in three for me. I was able to add some names to have been successful in making that first part. my lists as a result of our new student open connection. This list is by no means com house just prior to the first day, but I knew plete, nor will each piece work for every SAB or Three-Part Mixed that the first week of school would really teacher in every situation. However, I Homeward Bound – Marta Keen/Jay be a crucial time to build my numbers. have taught each of these pieces and have Althouse (Alfred) had success with all of them. They are all My students love this slower tempo, One of the best tools to recruit new choir among my favorites. They are also among warm feeling type of piece. They like the members is word of mouth. During those my students’ favorites. sound, the message, and the solo opportu first few days with the students I had in my nities. The three part harmonies are abso classes, I had to make such an impression Unison lutely gorgeous. and sell the program in such a way that Wind on the Hill – Victoria Ebel Sabo they would go out, spread the word, and (Boosey & Hawkes) Like A Mighty Stream – Moses Hogan (Hal bring in the numbers. Although there are This slow minor piece can initially be Leonard) gimmicks we could use and donuts we can taught by rote on a neutral syllable such as The verses are unison and the three part promise in order to encourage students to “loo” and used to teach breath support. harmony sections are powerful and acces join, I think the best way is to give the When I introduce the music and words at a sible for three part choirs. My students students you have a valuable musical ex later date, the students have already experi have loved this piece. perience as soon as possible. If they have enced the piece “musically.” that quality musical experience early in the Shine on Me – Rollo Dilworth (Hal Leo year, they will want to experience it again Two-Part nard) and again, and many of them will want to Didn’t My Lord Deliver Daniel – Arr. My students absolutely love Rollo’s have these musical experiences with their Roger Emerson (Hal Leonard) pieces. Shine on Me has three very differ friends. The recruiting thus begins. This is a great piece to start the year with. ent parts. The piece begins with the choir It has an attractive rhythmic quality that singing the first part in unison. The second Although the year is well underway, it is students can easily connect with. Unison section features the other two very distinc not too late to get a jump on student moti and simple two part sections help make tive parts together. The final section of the vation in our choirs. The key to motiva this piece a quick yet great sounding open piece brings all three parts together. I have tion is choosing music that is accessible ing piece. This piece is also available in taught Shine on Me by teaching everyone and that will “sound” as quickly as possi three part. all three parts, then assigning parts to spe ble. When presenting this opening music, cific sections later. I try to present it in such a way that my Dodi Li – Nira Chen (Boosey & Hawkes) students immediately connect with it. Be I am not sure who loves this piece more, (continued on page 13) Page 4
My Picks for Must-See Broadway Shows Marji Eldreth Musicals & Opera Liaison
ere is a A CHORUS LINE LES MISERABLES list of H I haven’t seen this re It’s back! This classic shows that I vival yet, but I’m going show is running from recommend if this spring. I loved the October 24 — Novem you are going original and can’t wait ber 9. If you’ve never to New York to see it! Mature audi seen it, go! City for a ences only. weekend or a class trip. You can find out more information about each show by go
ing to: www.broadway.com.
ALTAR BOYZ (Off- THE COLOR PURPLE THE LION KING Broadway) The music is amazing! Always a favorite. What I haven’t seen it, but The story line is great! can I say? The cos heard it is really funny. Would Oprah put her tumes, set and dancing My one friend has seen it name to anything less are amazing! I could see 6 times. Not for young than spectacular? it a hundred times. children. It runs 1 hour 30 minutes with no inter
mission.
AVENUE Q DR. SEUSS’ HOW MARY POPPINS This hilarious and heart THE GRINCH STOLE Starting this fall, Mary felt Tony winner takes CHRISTMAS comes to NYC. Mary place on an urban street For the first time in Poppins marks the first where both humans and Broadway history, this collaboration between puppets deal with mod show will play 12 times Disney, producer of the ern life. The puppets a week! There are 8 acclaimed The Lion King , look and sound surpris performances on the Beauty and the Beast , ingly familiar… For weekend, and even 11 a.m. matinees on and Tarzan , and Cam mature audiences. Our students had to Thursdays for schools. They are really eron Mackintosh, legendary producer of sign a waiver to see it last year. hyping up this show for children and fami the record breaking The Phantom of the lies. I’ll bet the theatre will be noisy dur Opera , Cats and Les Miserables . Sounds ing the performances! The show runs No promising! CHICAGO vember 8 — January 7. Vaudeville killers Roxie and Velma face off in SPAMALOT this Tony winning mu HAIRSPRAY If you love Monty Py sical hit. Great dance Welcome to the 60’s! thon, you’ll love this numbers! Not for This is a great show for musical! It was very young children. Of teenagers and adults. I funny. Not much of a note: R&B star Usher highly recommend this storyline, though. played Billy Flynn one. The music is great “Bring me back a shrub through October 1 of this year. and the storyline is fun. bery…” (continued on page 11) Page 5
Fool Them Into Singing! Paul Gray R & S Chair for Men’s Choirs any I’ve used this approach countless times using the word “hey.” Think of the way M music already this year with much success. drill sergeants sing to their troops during teachers and drills and make up your own patterns. directors have Head Voice had students When warming up, I like to say silly things Try some of these sly approaches and who were a bit to the choir using my head voice and then amend them in any way necessary. Most reluctant to sing having them repeat them back. If any of directors have their repertoire of tech at one time or the male singers use their speaking or chest niques to help their inexperienced male another. At times we are in situations voice, I correct them. Many of the phrases singers, so feel free to share. With pa where students were randomly thrown into are made up on the spot but some ideas tience and persistence we can surely im a choir and have very little interest in sing could be “Oh No!” or any nonsense vowel prove the skill level of our male choir ing but must take the class. This is obvi sounds with random changes of pitch. members, and in the process cause them to ously a less than desirable situation for After the initial laughing takes place, the enjoy singing and making great music. everyone, yet we have heard about and sound really starts improving. Eventually experienced it on occasion. the spoken phrases become more song like Email: [email protected] and soon the men are singing in their head This year I started a new job at a newly voice. formed Charter School. I was surprised and disappointed that many of the ninth Find Their Tessitura Da Capo and tenth graders at this school have had When working with students for the first will accept little to any choir experience. My biggest time or doing an audition, ask the student advertising at the problem, however, was getting male stu to tell you his full home address so you can dents interested in the men’s choir and hear where his comfort zone is. Then have following rates: singing in general. I soon realized that the him sing some patterns in that area before process was going to take some time and a exploring the higher and lower ranges. Full page—$100.00 lot of patience on my part. Vocalizing Half page—$50.00 I would like to share some simple tech When vocalizing, it is usually best to start niques that could open the door for teach in the higher range and work downwards Quarter page—$25.00 ers who may be in a similar situation. from head voice to chest voice. This is While some of these ideas may work better true for all types of younger choirs so as to Rates listed are for scan- for male teachers, all choir directors can not have singers pushing their chest voice ready or digital .jpg files. A take advantage of these simple approaches into extreme upper registers. check made payable to to get your male members singing and “Delaware ACDA” must ac- improving musically. Football Shouts company the order. Copy will I hate to use the word “shout” in a choral not run without advance pay- The Siren Technique (Glissando) article, but this seems to work for the male ment. When your male singers tend to sing under singers. I often tell the students to shout pitch because the desired note is above out the notes when they fail to engage the Advertising copy is subject to their normal speaking voice, have them breath enough to produce a decent tone editorial approval, and DE slide up to the proper pitch from a note that and correct pitch. I then explain that they ACDA reserves the right to lies in their lower tessitura. Demonstrate should feel the physical energy of a shout edit any advertisements for the technique first and then let the student but still be singing with a beautiful sound. appearance, size, and read- try it. On some occasions the student will ability. not slide up far enough and on even more Without pushing too high in the register, rare occasions he will slide past the note. have the singers imitate you with a “Hey, All advertisements should be Once the singer has found the correct Hey, Hey!” The note should have a pitch, sent to the editor, Marybeth pitch, have him try singing the note with but not be sung or produced in a legato Miller. out the slide. Most of the time this ap fashion. When done to your satisfaction, proach works well and you may find it subtly change it to a melodic phrase such (Address, p. 2.) needs to be repeated throughout the year. as “sol mi do” or “mi re do” while still Page 6
Easy Vocal Jazz Pieces Martin Lassman President / R & S Chair for Jazz Choirs ne of the questions asked at the TTI (IAJE and MENC’s Teacher Training Institute for teachers O who want to learn how to teach jazz) was “What are some good pieces to use with a beginning jazz choir or a concert choir wishing to try some jazz pieces?” Teachers can access databases like the one that J.W. Pepper has online (www.jwpepper.com) or the UNC (University of Northern Colorado) web site (https://www.arts.unco.edu/uncjazz/jazzpress) , but for “tried and true” I recommend the follow ing pieces all of which are in my library and I have used with great success. All are swing unless noted. All are available through J.W. Pepper or your favorite dealer, except those noted as published by UNC Jazz Press. These are all terrific teaching and performance pieces. There are many pieces out there much harder than these but you will find each of these pieces to be fun to rehearse, full of educational moments and satisfying to perform. Email: [email protected]
Alright, Okay, You Win We loved this piece! I can’t remember (remember the harpsichord on the origi Sid Wyche/arr. Steve Zegree why it was challenging, but once we ‘got nal?) is scored just for voices and sounds SATB it,’ it was fun! Maybe there is a not so tougher than it is. This is a great piece! Not my kids’ favorite at first, but an easy, easy scat shout chorus. Shuffle feel. fun chart that is not hard and has options Mas Que Nada for easy improvisation. (The kids did I Don’t Know Why, I Just Do Jorge Bens/arr. Steve Zegree grow to like it.) Fred Ahlert/arr. Dave Riley SATB but can be done two or three part SATB This is the well known Sergio Mendes & Come Go With Me Easy and sounds great. Old time ballad/ Brazil 66 standard. The hard part is the C.E. Quick/arr. Kirby Shaw swing. Features a written out rubato solo Portuguese; however, my 7th graders have SATB, a cappella to start the piece. sung this piece, so it is doable. Feel free to Yes, the doo wop classic. Again, the form change the rhythms to fit the Sergio re is easy and improvisation is fun. You I’ve Got the World on a String cording. Open up the end riff for impro need boys to cover the bass line and the Harold Arlen/arr. Steve Zegree vised solos. Again, the kids love this! tenor melody line. The girls’ parts are less SA but can definitely use with SATB important. I highly recommend this or the other two Muffin Man Harold Arlen tunes arranged by Steve Ze Dave Cross (UNC Jazz Press) Duke’s Place (C Jam Blues) gree; “Ac cent tchu ate the Positive” and SATB, SSAT or SSAB Duke Ellington/arr. Tom Anderson “It’s Only a Paper Moon.” These are easy Have you seen the Muffin Man? Very SSA but can easily rescore for SATB and wonderful! Great feel, written out easy chart. Room for improvised solos. Fun and easy, and “C Jam Blues” is a clas scat shout sections. Fabulous! sic! Now Is the Time If I Fell Charlie Parker/arr. Norma Jean Luckey/ The Golden Rule by Lennon & McCartney/arr. Mac Huff Henry Leck Sharon Broadley (UNC Jazz Press) SATB, ballad Unison SATB Not a great work, but really pretty. Writ No words; all scat, all the time. Jazz stan ten by two of the Beatles, so you know it dard. Excellent! is a catchy melody with appealing lyrics. An interesting, mostly unison arrangement Over the Rainbow by a great writer, Mac Huff. Can be done (from “The Wizard of Oz”) with a full choir. No solos. Harold Arlen/arr. Russ Robinson SATB, a cappella ballad In My Life All State Sr. Mixed Chorus did this two Lennon & McCartney/ years ago. Plenty of room for interpreta arr. Roger Emerson tion. No solos. Tight harmonies. Plenty SATB, ballad, a cappella of minor seconds to tune. Now this one, on the other hand, is one of my most favorites. The kids love this one. (continued on page 13) I feature three different soloists instead of one throughout. The instrumental section Page 7
Larger Christmas Works Appropriate for Community Choral Ensembles: An Annotated List Michael Larkin R & S Chair for Community Choirs
ecause tings. Accompaniment is continuo (organ Highly recommended. B most and cello.) A very different Christmas community offering. Missa O Magnum Mysterium —T. L. Vit choirs present some type of “Christmas toria (J. Fischer and Choral Public Concert”, community, conductors seem to The Christmas Story —Heinrich Schütz Domain Library) be always on the lookout for larger Christ (G. Schirmer or E. C. Schirmer) mas works that fall with the technical ca A four part mass in which Vittoria uses pabilities of their choirs. This is a brief, An early, large, oratorio like work that the well known melody from his motet of annotated list of works, some well known should be performed more often, but it the same name as the cantus firmus and some not so well known, that I have does take large forces. Divisi chorus, throughout the mass. Accessible for sing found work quite well. brass and continuo accompaniment. ers and audience, it is a wonderful exam ple of high Renaissance contrapuntal, imi Ceremony of Carols—Benjamin Britten Carols and Lullabies, Christmas in the tative writing. (Boosey and Hawkes) Southwest —Conrad Susa (E. C. Schirmer) Here are a few additional works for your Any list must begin with this classic. A fascinating work that is a collection of Christmas consideration: Don’t forget that there are both SSA (the 10 Spanish carols imaginatively arranged original) and SATB versions. Don’t un by contemporary American composer derestimate the difficulty of this beautiful Gloria —John Rutter Conrad Susa. The choral parts are moder work and of course a very fine harpist is ately difficult and the accompaniment of Magnificat —John Rutter necessary for a successful performance. guitar, marimba, and harp gives makes this Gloria in D —Antonio Vivaldi piece a real treat for singers and audience. A Day for Dancing —Lloyd Pfautsch Take a look at this work. Cantata 140 , “Wachet auf, ruft uns die (Lawson Gould Publishers) Stimme” —J.S. Bach I also recommend A Christmas Garland Cantata 142 , “Uns ist ein Kind ge- A delightful collection of 9 rather sophisti by Susa, a collection of carol arrangements boren” —J.S. Bach (probably by Johann cated medieval carol settings that may be for SATB chorus, brass and organ that presented with music or alone, or with Kuhnau) includes audience participation. A great dancers. Most of the musical challenges program closer. Magnificat in D —J.S. Bach are rhythmic (changing and unusual me ters) although a contemporary harmonic Christmas Oratorio —Camille Saint Sæns language is used throughout. Includes Fantasia on Christmas Carols —Ralph parts of moderate difficulty for flute, oboe, Vaughan Williams (E. C. Schirmer) I hope this list includes a work or two that bassoon, and percussion (2 players). Don’t forget this classic of English carol might be new to you. May all your Highly recommended. arrangements for divisi chorus and bari Christmas concerts ring with beauty and tone solo that can be very successfully meaning! Christmas Magnificat —Samuel Scheidt performed with organ and cello. Always Email: [email protected] (1587 1654) (Concordia Publishing an audience pleaser. House) Run, Ye Shepherds, To the Light — A “troped” Magnificat with the traditional Deadline for the next issue of Magnificat verses interspersed with ver Michael Haydn (Coronet/Presser) nacular songs (choruses) and Latin liturgi A delightful, very accessible, tuneful work cal texts. Approximately 30 minutes long, by the lesser known Haydn. About 15 it is an interesting mixture of late Renais Da Capo: minutes in length, it is scored for strings sance polyphony and early Baroque style and organ. Choral parts are easy, the so January 1, 2007 similar to Heinrich Schütz’s Passion set prano solo is of moderately difficulty. Page 8
Sacred Choices for Upper Voices Marybeth Miller Da Capo Editor / R & S Chair for Women’s Choirs
hen was the last time your treble or women’s ensemble performed a sacred selection? Can’t re W member? Do you have a file of sacred pieces for women’s choirs? If not, I strongly encourage you to create that file now, possibly even starting with some of the following selections. I humbly offer a few suggestions below, split into Christmas, General, and Spiritual/Gospel categories. Do you have more to add? Please contact me with any gems you have to share!
Email: [email protected] CHRISTMAS SELECTIONS Once in Royal David’s City Henry John Gauntlett/arr. Anna Briscoe. Beautiful Savior A La Media Noche 3 part treble w/piano; optional string quar Silesian folksong/arr. Julie Knowles. Traditional Puerto Rican/arr. Joan tet. Creating Artistry Henry Leck Choral SSA w/piano. Hal Leonard Corporation. Szymko. SSAA w/piano, flute, claves, Series, Hal Leonard Corporation. shaker, and conga. A carol of Jesus’ birth, A Celtic Prayer entirely in Spanish. Santa Barbara Music Shepherd’s Pipe Carol Barry Peters/arr. Eleanor Daley. SSAA a Publishing, Inc. John Rutter/ed. David Willcocks. Avail cappella. Cape Breton Chorale Series: able in a shortened unison version with McGroarty Music Publishing. The Angel Gabriel simplified accompaniment, original length Traditional Basque Carol/arr. Audrey Sny and accompaniment with unison and vocal A Clare Benediction der. SSA w/piano. Hal Leonard Corpora descant, or original length and accompani John Rutter. SSA w/piano. Hinshaw tion. ment with SSAA. All versions accompa Music, Inc. nied by piano, or orchestra parts available Deo Gracias for rental. Oxford Carols; Oxford Univer Domine Deus, Agnus Dei From “A Ceremony of Carols” by Benja sity Press. Antonio Vivaldi/ed. Janet Galván. Uni min Britten. SSA w/harp or piano. son with piano. Janet Galvan Choral Boosey & Hawkes. The Shepherd’s Carol Series: Roger Dean Publishing Com David Brunner. Unison w/piano. Doreen pany, a division of the Lorenz Corpora Gaudete! Rao’s Choral Music Experience; Boosey tion. From Piae Cantiones/arr. Michael Neaum. & Hawkes. SSAA w/ piano, tambourine, and hand For the Beauty of the Earth drum. Renaissance piece with lots of en Sussex Carol John Rutter. SA w/piano. Original mel ergy; entirely in Latin. Eboracum Choral Traditional English/arr. Paul Stuart. SA ody line with traditional text. Hinshaw Series, Banks Music Publications, distrib w/organ, solo instrument, tambourine, Music, Inc. uted by Hal Leonard Corporation. and hand drum. Parts available for oboe, flute, or English horn; orchestral score Grace Kling, Glöckchen, Kling also available. Santa Barbara Music Pub American Folk Tune/arr. Mark Hayes. Traditional German/arr. Robert Sieving. lishing, Inc. SSAA w/piano. Uses the tune O Waly, SSA (some divisi) and piano. Carol about Waly (The Water Is Wide). Beckenhorst bells ringing in the good news, entirely in The Time of Snow Press. German. Santa Barbara Music Publishing, Bob Chilcott. No. 1 of “Three Christmas Inc. Songs.” Oxford University Press. Op Lift Thine Eyes tional harp, percussion, and string parts From “Elijah” by Felix Mendelssohn. Lo, How A Rose E’er Blooming available for rental. SSA a cappella. Available from multiple Traditional Carol/arr. James Helme Sut publishers. cliffe. 3 part treble a cappella or w/piano GENERAL SELECTIONS or organ. Optional string quartet. Fairly My Shepherd Will Supply My Need challenging arrangement. Doreen Rao’s All That Hath Life and Breath Praise American folk hymn from Southern Har Choral Music Experience; Boosey & Ye the Lord! mony /arr. Mack Wilberg. SSAA w/harp Hawkes. René Clausen/arr. Ronald Weiler II. or piano; flute, and oboe. Hinshaw Mu SSAA a cappella. Mark Foster Music sic, Inc. Company, a division of Shawnee Press, (continued on page 9) Inc. Page 9
Sacred Choices for Upper Voices (continued from page 8)
Nada Te Turbe SSAA w/piano. An ethereal, modern Creating Artistry: Henry Leck Choral Joan Szymko. SSAA w/cello. Text of treatment of the traditional spiritual. Series, Hal Leonard. reassurance in God’s constancy. Gor Very challenging. SDG Press, distrib geous composition, entirely in Spanish. uted by Masters Music, a division of Shine On Me Santa Barbara Music Publishing, Inc. Edwin F. Kalmus. Traditional Spiritual/arr. Rollo Dilworth. SSA w/piano. Easier than it sounds; can Ose Shalom I Am His Child also be used as a secular selection (the John Leavitt. 2 part with piano, optional Moses Hogan. SSA w/piano. Uplifting, text is not specifically religious). Creat clarinet and strings. A song of peace encouraging text will appeal to younger ing Artistry: Henry Leck Choral Series, entirely in Hebrew. Hal Leonard Corpo voices. Alliance Music Publications, Inc. Hal Leonard. ration, Inc. Walk In Jerusalem Twelve Gates Into the City On Eagle’s Wings Traditional Spiritual/arr. Rollo Dilworth. Traditional Spiritual/arr. Hal Hopson. Michael Joncas/arr. Mark Hayes. 2 part 3 part treble with piano. Combines two Unison/2 part w/piano. Simple, yet w/piano. Beautiful arrangement of the spirituals in an upbeat, fun arrangement. beautiful with traditional tune and des Psalm 91 text. Alfred Publishing Com cant. Mark Foster Music Company. ♫ pany, Inc. Pie Jesu “GEORGE M!” Gabriel Fauré/arr. Rao. From “Requiem.” Unison w/piano. Entirely in Latin. Do DE ACDA members pose with a George Mason statue at the reen Rao’s Choral Music Experience; Voices United Conference at George Mason University. Boosey & Hawkes. Back row: Ryan Tibbetts, Margaret Anne Butterfield, George Mason, Simple Gifts and Martin Lassman. Middle row: Tracey Wallace, Chrystal Haas, Traditional Shaker/arr. Amy Dalton. and Marybeth Miller. Front row: Nicole Aldrich, Debra Gordon. SSAA a cappella. In my opinion, this is simply the very best arrangement of the traditional Shaker song available. Santa Barbara Music Publishing, Inc. Vivaldi for Treble Voices: Selections from Magnificat (includes Et Exultavit and Esurientes) Antonio Vivaldi/ed. Janet Galván. Uni son or 2 part with piano. Janet Galvan Choral Series: Roger Dean Publishing Company, a division of the Lorenz Cor poration.
With A Voice of Singing Martin Shaw. SSA w/piano. An “old” favorite with a triumphant flavor that has timeless appeal to church and secular ensembles. G. Schirmer, Inc.
GOSPEL STYLE/SPIRITUAL SELECTIONS Balm In Gilead #4 from “Thoughts and Remembrances.” Traditional Spiritual/arr. Jackson Berkey. Page 10
Internet Resources for Choral Conductors Ryan Tibbetts Webpage Design
ost of us organizations, recording technicians, sum pieces on its site, giving conductors an M now mer programs, and other topics of interest easy way to preview music before order make frequent to conductors and singers. In addition, it ing. Conductors may also wish to examine use of the inter offers two discussion groups – ChoralList the above mentioned forums in ChoralNet net for news, (mainly for brief announcements) and and the ACDA website for suggestions in shopping, and communication, and as cho ChoralTalk (for more extended discus choosing repertoire. ral directors, we may already be in the sions) – which only require name and e habit of making online orders from major mail address for subscription. Both the Obviously, an article of this length can suppliers like JW Pepper and The Musical ACDA and ChoralNet sites offer an excel only scratch the surface of the resources Source. However, the internet offers re lent starting point for conductors looking available online, but I hope I’ve left you sources for choral directors far beyond for answers or hoping to share ideas with with a few ideas as to where to begin, and easier music purchases and distractions their colleagues across the country. to the wide variety of uses the internet can when we should be working on something have beyond simply ordering music. Our important. This article will hopefully ad Selecting repertoire also presents some own state chapter website dress some other ways that conductors can problems that the internet can help to alle (www.deacda.com) contains a links page use the resources of the internet to their viate. If you are looking for a piece but to many of the resources listed above, and advantage, whether in addressing rehearsal don’t know the publisher(s), or are search those all have links to numerous other problems, networking with colleagues, or ing for music by a specific composer, or sites. If you know of any other useful re programming for concerts. settings of a specific text, MUSICA sources that weren’t mentioned in this arti (www.musicanet.org) can be extremely cle, please e mail your suggestions to me Most of us, no matter how experienced, helpful. MUSICA bills itself as “the Vir for posting on the DE Chapter website. find ourselves facing a multitude of ques tual Choral Library” and to date contains tions: How should I deal with the begin about 145,000 records of choral pieces, Whether you have questions that need an ners in my tenor section? How are we with information on, among other things, swering, are hunting for new repertoire and going to raise money to go to a festival? I voicing, publisher, and estimated diffi program ideas, or want to find ways to found a really great piece, but it’s in Swed culty. In some cases, the files will also network with your colleagues outside of ish – what do I do? Looking in forums in contain an mp3 clip of the piece in ques the state, the internet can be an extremely choral websites can be a good way to start tion. No registration is necessary to search useful tool. Good luck in your searching! answering those sorts of questions. The the database (either by composer or title, National ACDA website or with more detailed criteria such as voic Email: [email protected] (www.acdaonline.org) maintains a useful ing, language, author of text, and so on), “General Discussion” forum, where direc although the organization also offers a tors can ask their peers for advice about “privileged user” option that can be ac just these sorts of questions. Our R & S cessed by making a donation to the organi Chair for High School Choirs, Tom Sa zation or purchasing the MUSICA DVD batino, wrote an article about another ex ROM. Even searching as a non privileged cellent resource, ChoralNet user (as I do), it is possible to find a great (www.choralnet.org), in one of last year’s deal of useful information. Looking at issues. ChoralNet also offers a forum for publisher websites can also be a great way any number of questions, and will often to find new repertoire, and most publishers post a list of responses to those questions can be found using a search engine
on its website. Of course, given the wide (Google, Yahoo, etc.). A previous Da range of people who offer replies, you may Capo article mentioned Treble Clef Press The 2007 National Convention wish to take them with a grain of salt, but (www.trebleclefpress.com) as a useful in Miami, Florida will be here some of the posts may be quite useful, and resource for conductors of women’s and sooner than you think! Keep some may point you towards other helpful children’s choirs, and Santa Barbara Mu checking the National ACDA resources. ChoralNet also offers a multi sic Press (www.sbmp.com) also caters website for details. tude of other resources, including posts of specifically to choral musicians. Santa job openings, and links to other choral Barbara also includes recordings for all the www.acdaonline.org Page 11
Choral Music for Special My Picks for Must-See Broadway Shows Church Occasions (continued from page 4) Nicole Aldrich & Betsy Kent TARZAN R & S Co-Chairs for Music in Worship I haven’t seen it yet, but if it’s Disney, it’s n this issue “We Thank You, God, for Teachers” by got to be great, right? I of Da Mark Patterson. Choristers Guild, CGA Capo , we pre 1021. Intergenerational choirs (children, sent this list of youth, adults, seniors) and keyboard. recommended anthems in three categories that many “We Welcome Glad Easter” by John churches may find useful. Purifoy. Triune Music, 10/1228T. SATB choir, children’s choir, and keyboard. THE 25 TH ANNUAL Choir and Congregation: PUTNAM COUNTY “Break Forth in Joyous Sound” by SPELLING BEE “The Tree of Life” by K. Lee Scott. James Biery. Morning Star, MSM50 Morning Star, MSM 50 3000. An old fa I loved it! There is 6514. SATB choir, keyboard, optional only one act, so the vorite, for SATB choir, congregation, or children’s choir, congregation, trumpet. gan, optional handbells and brass quartet. show runs 1 hour 45 Also excellent for Festival Music Sunday. minutes, but you “God Is Here” arranged by John Fergu don’t feel like Festival Music Sunday: you’ve been sitting son. Hope Publishing Company, DFW214. Familiar “Abbots Leigh” tune “God of Grace and God of Laughter” by that long. Audience members are actu set for SATB choir, congregation, organ, Hal H. Hopson. H.W. Gray, GCMR 3596. ally picked to be in the spelling bee. A brass quartet. SATB choir, congregation, keyboard, and really fun show to watch! There is optional trumpet I and II and handbells. some mature material – may not be ap “Come, All Christians, Be Committed” propriate for young children. by David Schwoebel. A challenging but “When the Morning Stars Together” by satisfying anthem for Consecration Sunday K. Lee Scott. Choristers Guild, CGA 707. incorporating “Beach Spring,” for SATB SATB, congregation, keyboard, with THE WEDDING choir, congregation, organ. SINGER optional trumpet and 2 3 octaves hand I loved this show! I “All Creatures of Our God and King” bells. saw it opening week by Alice Parker. Hinshaw, HMC 731. end. I think it’s bet SATB choir, congregation, and brass quar “When in Our Music God Is Glorified” ter than the movie! tet or keyboard. by Alice Parker. Brookefield Press Stephen Lynch was 08742533. SATB choir, organ, and con hilarious as Robbie “Crown Him the Lord of Life” by Lloyd gregation. Hart. The teens that Larson. Alfred 16157. An easy anthem went with me loved it! for Easter or Christ the King Sunday, “The Chorister’s Prayer” by Jeffrey H. available for SAB or SATB choir, congre Rickard. Sacred Music Press, 10/1689S. gation, keyboard, and optional brass quar SATB choir, keyboard. WICKED tet. Amazing show! The “Eternal God” by John Rutter. Hinshaw, scenery and special Combined Children’s and Adult Choirs: HMC 1731. SATB choir, congregation, effects are worth the organ. ticket price alone! “Climb to the Top of the Highest Moun Young children may tain” by Carolyn Jennings. Neil A. Kjos Please share your suggestions in these or be frightened by some Music, C 8118. SATB choir and keyboard other categories! We will compile them to things – like the fly with optional children’s choir. share in another issue of Da Capo . ing monkeys! “For the Beauty of the Earth” by Dale Email: Email: Wood. Choristers Guild, CGA 950. Betsy: [email protected] [email protected] SATB choir, children’s choirs, congrega Nicole: [email protected] tion and keyboard. Page 12
CD Reviews: Beyond Chant: Mysteries of the Renaissance (Voices of Ascension) Wondrous Love (Chanticleer) Tom Sabatino R & S Chair for Senior High School Choirs
he process of “Beyond Chant” is simply an outstanding are a little more difficult for good high T choosing recording of music by Palestrina, Byrd, school choirs, more accessible arrange repertoire for our Desprez, Tallis, Hassler, Victoria, and oth ments are available from local publishers. choral ensembles ers. My high school students have per Several selections my students enjoyed is typically a year round activity. Attend formed six of the selections from this CD were: “Nelly Bly” (United States) ar ing concerts, searching through programs alone over the past few years, each time ranged by Jack Halloran; “La Villa and catalogues and listening to recordings using this recording as a model for great nella” (Italy) arranged by Steven Sametz, can all play a role in what pieces we deem interpretation. Most noteworthy and ac and “Diu Diu Deng” (Taiwan), arranged worthy of our choir’s efforts. Personally, I cessible to high school choirs are Pal by Chen Yi. Another work worth consider enjoy listening to recordings of profes estrina’s “Sicut Cervus,” Byrd’s “Ave ing that I’ve not done with my groups is a sional groups, not only to find great exam Verum Corpus,” and Hassler’s “Cantate folksong from Sweden entitled ples for my choirs to listen and critique, Domino.” “Domaredansen,” arranged by Otto Olson. but to find exceptional repertoire. Two Even though this is an all male chorus, it’s such recordings that I have owned and worth allowing your SATB choirs listen to borrowed countless ideas from are Chanticleer’s musicianship, purity of tone, “Beyond Chant: Mysteries of the Renais incredible blend, and countertenors! In sance ” by Voices of Ascension ; and Chan some cases, you may wish to wait until ticleer’s “Wondrous Love: A World Folk after you play the recording to tell them it Song Collection .” was an all male chorus. They’ll want to hear it again! Both CDs provide very helpful liner notes with translations and composer informa tion. While some selections may never find their way into your library, I found that by listening to them all, I quite often “Wondrous Love” is collection of folk have been led to different music by the songs from around the world. I purchased same composer. These recordings are true this CD a few years ago when I was look gems that are great investments for your ing for some interesting and different folk listening library. tunes to add to our festival repertoire. Though the exact arrangements on the CD Email: [email protected]
th th I will be sending a SAVE THE DATE If you do not Calling All 4 – 6 reminder to you via email within the next receive informa Grade Teachers! month. This reminder will include the tion or would Kara Newham date, our venue and our guest conductor’s like more infor R & S Co-Chair for Children’s Choirs name. You can expect to see information mation, feel free regarding auditions and times of rehearsals to contact me. s the school year begins, Jeanmarie when we return from winter break. A Braddock and I are working hard on getting the details for the Children’s By getting the word out early, we hope to Honor Choir Festival together. Mark your give everyone plenty of time to audition calendars – the date is set for March 16 th their students and submit their forms. We and 17 th , 2007! We are still finalizing our had a wonderful turnout last year and guest conductor as well as our location for we’re hoping this year will be even better. the performance. Email: [email protected] Page 13
What Did You Do This Repertoire to Start the Year Summer? (continued from page 3) Margaret Anne Butterfield Private Schools Liaison The Tiger – Sherri Porterfield (Alfred) This is another student favorite. The hat did you tion. There were several “aha” moments ranges are limited and it begins to do this past for all of us. To top it all off, we got to W “sound” quickly. The writing nicely summer? Per hear firsthand from Dale Warland, Rollo follows the changes in intensity of the haps you took a Dilworth and Eleanor Daley. I bet several text from a William Blake poem. break from of us have already used one of the warm schoolwork and did something completely ups from Rollo’s upcoming publication. Windy Nights – Cynthia Gray (Lorenz) distant from music. Perhaps you traveled And I wonder how many of us have Students love the dynamic changes in or read “beach novels” while striving for thought about altering our hand position this piece and the momentum supplied the perfect tan. You may have done some the way Dale Warland coached those by the piano. The soprano part reaches home improvement project. Maybe you young conductors to do? up to f2 in the middle of the piece, but returned to singing again, either for fun or the part does not require very many stu profit. Or perhaps you engaged yourself in We also got to peruse countless scores, dents to be effective. music in a new way. (I have to brag that I courtesy of The Musical Source, and sang did all of the above!) through quite a bit of music. I’ll wager My hope is that some of these pieces that each of us programs at least one tune may be helpful in boosting that initial When you made your summer plans, did we read this summer. motivation in your choirs and making you give any thought to attending the that connection. As I am always search Voices United conference in August? Sure, spending three days away near the ing for new “early motivators”, I invite Seven of our DE ACDA members made end of summer may not seem very entic your suggestions for additions to this list. the trek down to Fairfax, VA, and it was a ing, but when I look back on the many One of my goals for this year is to in trip well worth the time, effort and money. things I heard and saw at that conference, crease communication and facilitate the Not only did we have the chance to con I’m so glad I went. It whetted my appetite exchange of ideas and suggestions nect with each other, we also got to see even more for the upcoming national con among middle school choir directors. I some really fabulous presentations that got vention in Miami (Are you going?) Con invite you to be a part of this endeavor. us thinking in a positive way about what sidering that next year’s headliners for Please feel free to contact me anytime we would do with our programs this com Voices United are Anton Armstrong and with ideas, comments, or suggestions. I ing year. Stephen Hatfield, you should be making wish you all a very successful school your plans now. You won’t regret it! year. Just as happens with our students, when we hear something stated in a different Email: Email: [email protected] way, it’s almost like hearing new informa [email protected]
Easy Vocal Jazz Pieces (continued from page 6) Summer Burn Tight harmonies. Needs a pianist who can “Why waste Sharon Broadley (UNC Jazz Press) play in weird keys, but it is written out. SATB money on psy Bossa Nova. Room for improvised solos. Vincent (Starry, Starry Night) SA and TB are co equal. About the sum Don McLean/arr. Roger Emerson chotherapy mer and summer romances. Need a pian SATB, a cappella when you can ist or a rhythm section to create the bossa Ballad. Definitely worth doing. No solos. feel. The song about Vincent Van Gogh. listen to the B Tuxedo Junction When I Fall in Love Minor Mass?” Erskine Hawkins/arr. Jerry Nowak Victor Young/arr. Kirby Shaw SATB SATB or SAB versions This Manhattan Transfer arrangement has Ballad, a cappella, pretty! ♫ Michael Torke several written out solos, laid back swing. Page 14
CHORAL CHUCKLES: Top Ten Reasons Why Choral Auditions Your Voice Part is Obviously the Best for Children, Author unknown Youth, and Adults
Top Ten Reasons to be a Soprano Auditions are being held by appoint 10. The rest of the choir exists just to make you look good. ment for the following choral groups 9. You can entertain your friends by breaking their wine glasses. based at Wilmington Music School: 8. Can you name an opera where an alto got the man? 7. When sopranos want to sing in the shower, they know the tune. Wilmington Youth Chorale 6. It's not like you're ever going to sing the alto part by accident. (ages 8 10). A group designed to 5. Great costumes like the hat with the horns on it. 4. How many world famous altos can you name? help young singers develop and im 3. When the fat lady sings, she's usually singing soprano. prove healthy, independent singing 2. When you get tired of singing the tune, you can sing the descant. skills while learning basic musician 1. You can sing along with Michael Jackson. ship. Students will study unison and two part repertoire. Top Ten Reasons to be an Alto Delaware Children’s Chorus 10. You get really good at singing an E flat. (ages 10 14). A select ensemble de 9. You get to sing the same note for 12 consecutive bars. signed for young people who have 8. You don't really need to warm up to sing 12 consecutive bars of E flat. some previous choral or musical ex 7. If the choir is rough, it's unlikely the altos will be blamed. 6. You have lots of time to chat during soprano solos. perience. Repertoire explores various 5. You get to pretend that you are better than the sopranos, because everybody knows that cultures, historical periods, lan women only sing soprano so they don't have to learn to read music. guages, and styles. Musicianship 4. You can sometimes find part time work singing tenor. taught through an emphasis on 3. Altos get all the great intervals. healthy vocal tone, sight singing, ear 2. When the sopranos are holding some outrageously high note at the end of a piece, the altos training, and three and four part always get the last words. singing. 1. When the altos miss a note, nobody gets hurt. Select Choral Ensemble (ages Top Ten Reasons to be a Tenor 14 18). A select SATB choral en 10. Tenors get high without drugs. semble for young adults. Focusing 9. Name a musical where the tenor got the girl. on all aspects of choral and vocal 8. You can show sopranos how it SHOULD be sung. technique, repertoire will include 7. Did you ever hear of anyone paying $1000 a ticket to hear the Three Basses? music from all eras and quality ar 6. Who needs brains when you've got resonance? rangements of some popular music 5. Tenors never have to waste time looking through self improvement books. and vocal jazz. Ensemble singing, 4. You can sing along with John Denver's “High Calypso.” blend, balance, diction, stylistic accu 3. When you get really good at falsetto you can make lots of money doing voice overs for racy and expressive content will be cartoons. thoroughly investigated. 2. Gregorian chant was practically invented for the tenor. Nobody invented a genre for basses. 1. You can entertain your friends doing impersonations. Delaware Women’s Chorus (women ages 18 and up). Repertoire Top Ten Reasons to be a Bass will include music from all eras and 10. You don't have to tighten your pants to reach your note. quality arrangements of some popular 9. You don't have to worry about a woman stealing your job. music. Ensemble singing, blend, bal 8. Or a pre adolescent boy. ance, diction, stylistic accuracy and 7. Action heroes are always basses. That is, if they ever sang they would be a bass. expressive content will be thoroughly 6. You get great memorable lyrics like “bop, bop, bop, bop.” investigated. 5. If the singing job doesn't work out, there's always broadcasting. 4. You never have to learn to read the treble clef. Auditions for these ensembles will be 3. If you get a cold, so what. held by appointment at the Wil 2. For fun, you can sing at the bottom of your range and fool people into thinking there's an earthquake. mington Music School. Please call 1. If you belch while you're singing, the audience just thinks it's part of the score. the school at 302 762 1132 for more details or to schedule an audition Borrowed freely from www.serve.com/marbeth/music_humor.html time. Page 15 The American Choral Directors Association Delaware Newsletter Page 16
Marybeth K. Miller, Editor The Wilmington Music School 4101 Washington Street Wilmington, DE 19802
Inside This Issue:
President’s Message: p. 1 DE ACDA Officers and R&S Chairpersons p. 2 Repertoire to Start the Year (or for Any Time of Year) p. 3 My Picks for Must-See Broadway Shows p. 4 Fool Them Into Singing! p. 5 Easy Vocal Jazz Pieces p. 6 Larger Christmas Works Appropriate for Community Choral Ensembles p. 7 Sacred Choices for Upper Voices p. 8 Internet Resources for Choral Conductors p. 10 Choral Music for Special Church Occasions p. 11 CD Reviews: Beyond Chant (Voices of Ascension) and Wondrous Love (Chanticleer) p. 12 What Did You Do This Summer? p. 13 Choral Chuckles: Top Ten Reasons Why Your Voice Part is Obviously the Best p. 14 ACDA Membership Application ( Please note changes as of 7/06 ) p. 15